Choking Victim Vaporizes the Valley

Photo by Joe Maier

It can be hard to come across a punk band that dishes out the same level of energy that they brought when they first started roughly 25 years back. But this is exactly what Choking Victim brought to the table as the original line-up reunited to offer up not one or two but three albums worth of material to the dark lord. This offering was presented to the possessed party gods as they embarked on a tour of the west after their hometown bash in NYC. Luckily, Choking Victim stopped off in the valley of the sun to let loose for the masses of desert rats with their homies Rats in the Wall, supported by some killer local bands.

Photo by Joe Maier

Unfortunately, many missed the opening set of Gilbert ska punkers The Linecutters due to a confusion in set times but also the fact that there was still a huge line of punx waiting to get into the show as their set winded down. While it was disappointing to miss them, Phoenix party punks Sad Kid turned the show into one helluva shindig, pool noodles and all, playing with the same level of passion that they always bring, making for a particularly pleasing performance. Even the recent addition of Travis James on guitar could hardly be noticed as new with what he was throwing down. It really is a wonder as to what these kids would have to be sad about as they continue to thrive, lately it seems by way of being signed to fresh local punk label Slope Records, while still being one helluva fun punk band.

Photo by Joe Maier

Setting the mood for Choking Victim was Rats in the Wall out of Huntington Beach. It was great to finally catch this nihilistic post-hardcore band after missing their first show out here. They kicked their set off with Dirt’s “Plastic Bullets”, taking some in the crowd by surprise. The band also played  favorites like “Take 2” and “Sinking”. Both guitarist/vocalist Brad Logan of Leftover Crack and F-Minus fame, while thrashin’ hard on guitar, as well as vocalist Eva Hall from Gather have an excellent stage presence and great chemistry vocally. Donny Morris, also from LoC, rages strenuously on drums. Even bassist Farrah Ferguson crushes it so mercilessly that few would realize that she’s a replacement. In all, seeing Rats in the Wall is an amazing experience.

Photo by Joe Maier

Bringing down the house was ska-core sensations Choking Victim. One hears stories of the insanity of a Leftover Crack show but, after seeing them, Choking Victim threw down so hard that their fans never eased up on their hysteria.There was so much stage diving going on that, at one point, a repeat offender was stopped mid-song after running into guitarist/vocalist Stza and clearly upset bassist Alec Baillie so much. It was hard to tell if the fan left the show on his own or by way of security after flipping them off. If that wasn’t enough, word has it that there was a 15 person brawl in the parking lot during the show. Don’t let it ever be said that chaos doesn’t swarm where the crack rock steady flows. The band certainly brought the discord with terrific tunes like “Born to Die”, “Fuck America”, “Living the Laws” and “Crack Rock Steady”. Stza’s formidable fury was a force to be reckoned with. Baillie unleashed his wrath upon the horde rigorously. Drummer John Dolan laid down the beat with brash brutality and veracity as well. On top of that, All Torn Up’s Joey Steel also joined in on the festivities. Overall, Choking Victim trounced 200% upon the throng, putting on one premium performance.

~ Garyn Klasek

Godawfulnoise Beguiles on The Epitome of Suffering

Photo by Ben Levy

It’s pretty damn impressive for a band that bounds through punk and metal to maintain a lasting impact. However, this is exactly what local crusty grindcore aficionados Godawfulnoise (GAN) have been doing out here for over five years. Over this time, they’ve casually released records every couple of years. However, 2016 seems to be a landmark year for them as they released a new full length, The Epitome of Suffering, over the summer and are currently working on a new seven inch as they prepare to embark on a mini-tour out to Southern California. While we wait for the next GAN album to drop, here’s a glimpse into their latest endeavor.

Courtesy of Godawfulnoise

The Epitome of Suffering kicks off with a brutal boot to the ass with a metal opening that ruptures into grind on “Completely Fucking Disgusted” and “Keep Them Sick.” Guitarist Danny Ruiz rips it up while Jesse Johnson goes nuts on drums. The band explodes on “We the Parasites” while bassist Billy Ruiz keeps it dismal and dangerous as vocalist Jesse Schoof maniacally deviates between growling and screeching. “King of the Bastards” has a more doomy metal grind feel. Godawfulnoise thrashes it right back up on “Contempt.” They surge back into grind metal on “Dying is a Way of Life” and “Blood Offering” as guitarist Ruiz serpentinely shreds the hell out while Johnson persists to obliterate on drums.

Photo by Tiffany Childs

Even more fury is unleashed on “Blue Lives Murder” before dipping right back into their meticulous blend of grind and metal with “Self-Induced Destruction Pattern.” “Incarcerated Nation” opens with a doom metal vibe before grinding the fuck out, which continues on “Wallow in the Stench.” GAN slams back into grind metal on “Victims” and “No Escape,” leading into a grand finale with a doom metal dawning on “Perpetuation of Delusional Disorder” before lashing out into death metal with a twist of grind. The Epitome of Suffering is one helluva monumental album throughout. Godawfulnoise leaves listeners lusting for more, whether it’s future recordings or their next performance.

~ Garyn Klasek

Good Things Come in Pears at the Nile Underground in Mesa

Photo by Garyn Klasek

Bringing something fresh and unique to punk can be a real challenge. Yet, NOLA hardcore punk band Pears not only excel at this, they also exceed expectations and the imagination with what they’re bringing to the table. Only two years old, these guys have taken the world by storm, playing festivals and touring extensively with some impressive names in punk. This time around, Pears set off headlining their own tour, stopping at Mesa’s Nile Underground, with Milwaukee pop-punk rockers Direct Hit!

Photo by Joe Maier

Tempe pop punkers Adult Arcade kicked the show off in fantastic fashion. While they are indeed on the poppier side of punk, they have a powerful edge to what they throw down. The band was reminiscent of much of the East Bay punk from the nineties, particularly bands like Pinhead Gunpowder, between their fierce energy and vocals that evoke Billie Joe Armstrong by way of Austin Ray. Look out for Adult Arcade as they continue to rock out around the valley.

Photo by Joe Maier

Local DIY punks Spoiled were up next to jolt the crowd. It was great to finally catch this band’s slammin’ performance. Guitarist Dylan Thomas of Landmine Marathon fame held true to his heavy sound, thrashin’ out for the crowd. Chad Curry from The Prosthetics raged the fuck out on drums as everyone reciprocated the feeling. Bassist Stephen Chevalier had the audience headbangin’ along. Even Jesse Upshaw had people eating out of the palm of his hand as he exuberantly shouted. If the prerequisite projects of Spoiled doesn’t make them stand out, the fact that they have the potential to get anyone rockin’ as they play alongside heavier bands should.

Photo by Garyn Klasek

Direct Hit followed, keeping the spark lit. These cats sound like a roid ragin’ soul heavy pop-punk band and they do it quite well. Between the hard-hitting guitars of Nick Woods and Devon Kay to the skillfully varying vocals of Woods, this band has some rather intriguing talent. Drummer Chris Gaylor from The All-American Rejects, who pulled through to jump on tour, displayed incredible technical abilities while still being able to rock the hell out. Steve Maury leaves the crowd soaring in ecstasy on bass. Direct Hit is one helluva surprising treat.

Photo by Joe Maier

Pears never fails to shock everyone they encounter. This band passionately bleeds indignation, inflaming throngs of punks everywhere. Standing out front almost stealing the show was Zach Quinn, screaming his brains out and flailing all over. Guitarist Brian Pretus shredded it up, shouting onward. Erich Goodyear aggressively pounded along on bass while also keeping it dire. Drummer Jarret Nathan as well masterfully belted out a breathtaking performance. As surprising as Pears is, it’s far from shocking that this band fills a void in punk that is spellbinding.

~ Garyn Klasek

Oh My Snare! and Freya Wilcox & The Howl Exhilarate on Split EP

Courtesy of Oh My Snare!

Not many bands complement each other well, especially when what they play sounds uniquely different from the other. While both do play punk rock, Montreal’s Oh My Snare! lean a bit harder into it where Brooklyn’s Freya Wilcox & The Howl incorporate a heavy dose of blues. Despite residing on opposite sides of the border, they all seem to have a strong family vibe, even working together on some pretty killer music. Their latest project, released today, is a split EP that does both projects justice.

The album sets off with Oh My Snare’s dancy yet driven melodic punk rock song “L’arbre Blanc.” Not only is it fun, poppy punk rock but it’s insanely feisty, urging listeners to thrash along. “Quantum Entanglement” is a mellower but surprisingly sweet collaboration between Oh My Snare! and Freya Wilcox & The Howl, with Australia’s Wilcox at the forefront with her raw, irresistible voice. While it’s slower in tempo, it loses none of the passionate momentum that these bands offer. Freya Wilcox and The Howl crank up the intensity on “I Beg,” bordering on country and punk rock. This tune is so refreshing, which comes as no surprise with how well this project elevates Wilcox's already outstanding material. Wilcox and co. close out the record with their darkly bluesy rockin’ take on Fleetwood Mac’s “Rhiannon.” They really make this song their own in a morbidly delightful and twisted way. The remarkable partnership fused together through each track glides together optimally into a superb split EP, leaving the listener thirsting for more.

Luckily for us, Oh my Snare! and Freya Wilcox & The Howl will be swinging through the valley for a pit stop on their West Coast tour on August 25th to play an all ages show at Yucca Tap Room in Tempe with pop-punk rockers Genre and post-punk rock duo Hobo Bastard.

~ Garyn Klasek

Slim Cessna's Auto Club Slithers into the Heart of the Valley

Photo by Garyn Klasek

Some bands are capable of making listeners do a double-take. And with nearly 25 years under their belt, Denver’s country gothabilly band Slim Cessna’s Auto Club is just that kind of act. This band’s dark take on country and roots music pulls out a very unique crowd of everyone from Americana fans to metalheads. This should come as no surprise, as time can provide many of those when it comes to how a band evolves.

Photo by Garyn Klasek

Kickin' it off old-school was Americana blues country duo Mr. Mudd & Mr. Gold. This project never fails to deliver a boot-stompin’ good time. Frontman and acoustic guitarist Tyler Matlock delivers his discourse diligently as the crowd claps along. Jesse Gray accompanies on banjo, electric guitar and suitcase drum, astonishing the audience in amazement. Mr. Mudd & Mr. Gold continue to captivate all along their course.

Photo by Garyn Klasek

Up next was punkgrass phenomenon The Haymarket Squares back from sauntering the southwest twice this summer. Anyone acquainted with this act is always astonished by their accomplishments. Minister of ceremonies and stand-up bassist Marc Oxborrow addressed the assembly ardently while pounding on his bass powerfully. Mark Sunman singed showgoers, shouting sacrilege as he astounds on mandolin, banjo and accordion. Guitarist John Luther rocked the room, especially on his harmonious hymn “Jump the Border,” which he leads lyrically. Mark Allred as well amazed the audience with his skillfully strummed slide guitar and vocal boom, especially noticeable as they pay creedence with “Fortunate Son.” If The Haymarket Squares don’t earn enough exaltation as it is, they managed to pull the plug and polish off the parish from the pews with percussive patronage.

Photo by Garyn Klasek

Slim Cessna’s Auto Club completed the concert commandingly, cascading their own contradiction between Canaan and chaos. Despite not having seen them in about a decade, they are absolutely awe-inspiring now. Whether they mosey us on down a dusty country trail or kick it into high gear, tearin’ it up on the highway to hell, these cats rouse listeners near and far. Ringleader Slim Cessna seized the pulpit, riling spectators into a frenzy. His right hand Munly Munly shredded away on guitar, howling along. Lord Dwight Pentacost raged out on the double neck guitar. Rebecca Vera brought her delightfully elegant touch, tickling the keys. Double bassist Ian O’Dougherty rocked out like it’s goin’ out of style. Andrew Warner beat the skins with excellence as well. In the end, Slim Cessna’s Auto Club has progressed into one sensational marvel, playing a fantastic show.

~ Garyn Klasek

Gallows Bound Leaves No One Hanging in the Valley of the Sun

Photo by Garyn Klasek

Bridging the gap between bluegrass and punk is no easy task. Virginia Appalachian punkgrass band Gallows Bound make it seem that way. Having only discovered them about six months ago, this ensemble is an incredible act to enjoy. This time around, courtesy of the hardworking  Fifthwheel Presents, Gallows Bound came out to play with a packed bill of amazing locals.

Photo by Garyn Klasek

Kicking things off was Arizona to Oklahoma transplant acoustic country punker D.S. Yancey from local punk band Yancey. It was a very pleasant surprise to finally catch him, having never seen him before. Everything about his stage persona and music, from his voice and words to his guitar playing, bleeds his heart and soul. One thing’s for sure: keep your eyes out for D.S. Yancey in the near future.

Photo by Garyn Klasek

Up next was honky-tonk country local legends Brea Burns & Jacob Woodside of The Boleros. Frontwoman and rhythm guitarist Burns dropped some old-school styled country gems that both stay true to country but also really rock. It also helps to have one hell of an impressive lead guitarist like Jacob Woodside. Despite having never seen these cats before, they have a name that is heard synonymously with country music in the Valley. After having finally caught them, it could clearly be seen why that is, as they leave you wanting more.

Photo by Garyn Klasek

Setting the mood for Gallows Bound was local punkgrass band Black Mountain Moonshine. It had been a while as they took a little hiatus but they seem to get even better over time. These guys drive out a fierce punk edge to their folky bluegrass tunes. Now, they seem to roll even harder and darker for an even more brutal experience. Per usual, they got the crowd dancing. That’s no surprise for this fantastic band. We are fortunate to once again have Black Mountain Moonshine gracing us with their presence, leaving us all looking forward to the next opportunity.

Photo by Garyn Klasek

Gallows Bound closed out the show with yet another marvelous performance. This band is always a treat to see but it was nice to see them playing more of a punk show out here. They add a dark and fun twist to their bluegrass tunes. Fronted by dual guitarists/vocalists Jordan Jyes and Jesse Markle, their onstage chemistry works well, teetering on the edge of chaos. Driving the band is drummer Rob Schultz with his mind-boggling and speedy delivery. Backing him up is upright bassist Aaron Blow, going nuts as he rocks the fuck out. Forrest Veach as well thrashes the hell out on mandolin. Banjo player Justin Carver intricately rages out like nobody’s business. Overall, this was one great show that leaves us hankering for more of the likes of Gallows Bound, who are returning on October 18th to play Yucca Tap Room in Tempe, touring with legendary Detroit punkgrass metal band The Goddamn Gallows, supported by locals Andy Warpigs and Outlaw Inlaws.

~ Garyn Klasek

Culture Shock and World/Inferno Friendship Society Sear the Valley of the Sun

 

Photos by Joe Maier    

It isn’t everyday that two stellar punk bands from both sides of the Atlantic find themselves joining together to embark on a cross-country journey around the U.S. All the way from the U.K., there’s cult eighties ska punk pioneers Culture Shock, sharing members with The Subhumans and Citizen Fish. Alongside them on this tour is Alternative Tentacles’ cabaret soul punk labelmate The World/Inferno Friendship Society straight out of Brooklyn. Alternative Tentacles refers to this tour as “The Team-Up of the Century” and they wouldn’t be wrong with this claim, especially in the punk world. Culture Shock recently reformed only to release a brand spankin’ new album called Attention Span only to bring it over to the states personally for the band’s first time playing out this way. World/Inferno, a fantastic band in their own right, has been steadily increasing the music they release while keeping the great tunes coming since debuting in the mid-nineties, having even recorded and shared the stage with fellow hometown heroes Leftover Crack. This joint tour found its way to the Phoenix area where local party punks Sad Kid supported the show, taking place at Yucca Tap Room.

Photo by Trevor Read

Sad Kid opened the show with a bang, bringing the kids out early. They’ve had impressive performances before but this one had tons of energy bouncing back and forth between the band and the audience. This was crystal clear with the all ages crowd, moshing in a frenzy and showing their opposition of the fence dividing the venue. Even much of the 21+ crowd were enthralled by the band, whether it was their first time seeing them or not. Drummer James Bohan brought his usual mesmerizing party beat to get the people movin’. Kyle King, as well, kept it poppy and provocative on bass while also rilin’ the audience up by starting an anti-fence chant. Rhythm guitarist and vocalist Rick Hill got the crowd rockin’ while shouting out his celebratory sermon. Jeremey Scalf also excited everyone between blasting away on trumpet and strikin’ out solos on lead guitar. Sad Kid was one helluva triumphant addition, setting the pace for one killer show.

Photo by Joe Maier

Culture Shock took the stage next, playing a marvelous mix of material from their early years to their current collection. On one hand, they played classics like “Punks on Postcards” and “Civilization Street,” the latter of which they dedicated to the memory of Erik Petersen from Mischief Brew, while also playing new songs like “Private Revolutions” on top of that. Their intensity was incredible for a project that isn’t as popular as The Subhumans or Citizen Fish. Perhaps it’s this freshness of the revitalized Culture Shock that makes for such a vivid experience. Singer Dick Lucas, mainstay over the years with all these projects from The Subhumans to Citizen Fish, maintains his signature vocals while, as always, spreading a sense of urgency. Backbone of the band is the talented Bill on drums, originally from eighties punk band Organised Chaos. Guitarist Alex shreds the fuck out between keeping that good ska rhythm going and rockin’ the hell out. Even Jasper Pattinson of Citizen Fish fame shows off one peculiar poppy performance on bass. Catching Culture Shock was a magnificent golden opportunity.

Photo by Joe Maier

Closing out this extraordinary show was The World/Inferno Friendship Society. They also played a wide array of songs from their catalogue. The band brought down the house with early favorites like “Tattoos Fade” to later sing-alongs like “Let’s Steal Everything” and “Addicted to Bad Ideas.” Having only seen them once before, this particular set of theirs really stood out between their sick song selection and their stage presence. Leading the band was frontman Jack Terricloth from late eighties Jersey punk band Sticks and Stones with his charismatic voice and mannerisms as well as defiant ideas. Even he found himself at odds with the fence. Sandra Malak got the crowd shakin’ between her poppy attack on bass and soothing vocals. Guitarist Frank Morin slayed whether tearin’ it up on rhythm or soloing. Mora Precarious had the audience raging out with her skills on drums. Tickling the keys like mad was Sticks and Stones compatriot Scott Hollingsworth. Modern addition Jeff Young on violin got the people swayin’. Baritone sax player Aaron Hammes from mid-nineties Chicago ska band Deal’s Gone Bad also left the crowd swooning. World/Inferno was a mesmerizing way to end this killer show. Overall, this was an unbelievable affair for everyone in attendance.

~ Garyn Klasek

Sugar Skull Explosion Exterminates on Zombie Party

Courtesy of Sugar Skull Explosion

It’s not rare to hear of punk bands including family members. What is odd is a punk band that is cross-generational, let alone a family band, that also really works well either despite or because of that dynamic. This is the case for Phoenix’s garage horror-punk duo Sugar Skull Explosion. This project consists of father J-Skull on bass from local acts like Hug of War and daughter E-Skull, who hasn’t even hit her double digits yet, beatin’ the drums. Not even a year old, this team has already released an EP and a single. As they gear up for their next show, they will also be releasing their next album, without a single song clocking in at over two minutes, Zombie Party.

The album kicks off with “Defeat the Beach/Lost Control,” a darkly nihilistic surfy garage punk medley. E-Skull thrashes out from the get go for the first part before J-Skull takes us down a shadowy yet fun road on bass while on the attack with dual vocals. Sugar Skull Explosion goes a slightly sludgy direction that’s choppy and droney on “Doll Brain.” Short and to the point is “Hallmark Holiday,” where they really bring the ruckus. “The Demon” takes the listener into garage-y horror-punk territory. E-Skull tightens up for a poppier rhythm on drums while J-Skull takes the lead on vocals sans the alternating vocals towards the end.

Perhaps the best song on the record goes to “I Don’t Want To,” an angst-riddled, rage-filled thrash punk song that could be ripped out of the lives of Sugar Skull Explosion. J-Skull busts out the heavy bass in a murky cloud as E-Skull smashes the hell out of her kit, both screeching out arguments that we’ve all been through. The band slows it down for “Question Everything,” a coming-of-age garage punk tune led by E-Skull on vocals that shows you can never be too young to despise any form authority takes on. The duo closes the album out fantastically with “Apocalypse,” a stripped-down nihilistic peace-punk song with tambourine in place of drums. J-Skull’s bass-playing on this one is reminiscent of Rudimentary Peni while E-Skull’s vocals flash back to Crass’ Penis Envy in an end-of-the-world fashion.

All in all, Zombie Party is a glorious addition to Sugar Skull Explosion’s punk catalog. Even more, this is a wonderful local punk record if not a marvelously pertinent punk album in general. If you haven’t been one of those incredibly fortunate people to have caught this band, it would be in your best interest to check out this record and, if you have the chance, their album release party. Sugar Skull Explosion is playing with Dog Party, Sneeze Attack and Diners on Thursday, July 28th at 51 West in Tempe.

~ Garyn Klasek

The Offspring Pounce into Summer Nationals

Photo by Tijs Van Leur

It can be hard to last in the limelight, stay relevant and still keep the punk kids coming out to shows in hordes for over thirty years no doubt. But this is exactly what SoCal veterans The Offspring have managed to maintain. Whether slamming out skate punk, pushing out pop punk or carving out commercial hits, this band accomplishes many feats while keeping their music fun and fresh. While we all anticipate their tenth studio album dropping, punks can get pumped for The Offspring’s tour by thrashin’ out to their EP they made for their Summer Nationals Tour with some of punk’s finest.

The Offspring opens up their Summer Nationals EP with Bad Religion’s “Do What You Want.” Straight out of the gate, drummer Pete Parada bursts forward, taking the reigns while Dexter Holland and Noodles hammer the tune out on guitars. Holland does an excellent job staying true to BR’s ferocity on vocals and to his own vocal stylings while the rest of the band harmoniously back him up on the “oohs and aahs.” They follow this up, leading straight into another Bad Religion song, “No Control.” Bassist Greg Kriesel, AKA Greg K., seems to spring out, accentuating the guitars. Holland appears to have had some intense fun on this one, working with BR singer Greg Graffin’s linguistically extensive vocabulary. Switching gears, The Offspring takes on Pennywise’s “No Reason Why.” Right off the bat, Kriesel and Noodles set the more melodic tone on bass and lead guitar respectively as the rest of the band comes in to build up the song to it’s naturally speedy pace. Parada rips it up on drums at this point while Holland and Noodles trounce on guitars.

If nothing else, Summer Nationals proves that The Offspring can still rage forth the raw energy they whipped out from the mid eighties into the nineties with excellent precision. If that’s a sign of anything, we can only expect to see a preview when they pass through of what’s to come on their next eagerly awaited album. The Offspring kick off their tour at The Marquee Theatre in Tempe on July 21st with local punk rockers Lightspeedgo.

~ Garyn Klasek

Naked Aggression Alluringly Assaults The Underground in Mesa

Photo by Joe Maier

They say that punk is for the kids and they aren’t kidding. Even an older punk band, like Wisconsin to California transplants Naked Aggression, can still bring the bitter youth out in droves. Of course, it certainly helps when dealing with veteran DIY promoters like Will Anderson, founder of Fifthwheel Presents, who, despite living in a city that pushes for restrictive bar shows, is constantly fighting to make shows all ages, like the ones at The Underground, located in the basement of Mesa’s Nile Theater. And with a band like Naked Aggression, their raw energy still shoves punks of all ages into a frenzy.

Photo by Garyn Klasek

Despite having missed the opening act, new local punk band Condition of Existence performed a darker droning set. They pulled this off like clockwork, working very well with their disorderly, grungy edge. This could definitely be perceived through guitarist Baylynn Wednesday’s handiwork. The band even closed out their performance with their take on Nirvana’s “About a Girl”. It will be interesting to see what direction Condition of Existence takes as they develop their sound in the future.

Photo by Joe Maier

Following this was Phoenix party punks Sad Kid. This project goes to show that it doesn’t have to take very long before a band evolves in tonality. Perhaps it’s exactly this progression that has led this band onto some of the best shows in town and on the road. Rhythm guitarist and vocalist Rick Hill balances between keepin’ it poppy and thrashing out. While he certainly proves his capabilities, Hill also expresses urgency with his distinct voice. Keeping up right alongside him is bassist Kyle King. Definitely displaying his nobility, King humbly lays down his talent. Drummer James Bohan really reveals his ability to adapt when needed. Bohan bounces beautifully from creating dance rhythms to full blown ragin’ out. Slyly blaring through to bump the party is trumpet player and lead guitarist Jeremey Scalf. When he isn’t tooting his own horn, Scalf manages to rock out some sweet melodies on guitar. Sad Kid not only embodies the fun spirit of punk but also illustrate the desire for growth on their own terms, resulting in the pleasure of partiers everywhere.

Photo by Joe Maier

Up next was Mesa’s old-school hardcore thrash punks Krovak. In spite of not having followed much hardcore these days, this trio stands out as one helluva dope crew of punkers. Guitarist Mike Germs lays down some harsh melodies. While also dropping vocals, Germs plays some crazy talented guitar somewhere between bluesy and fierce. Even Jairo kills it on drums, showing off his intense skills while slammin’ down some maddening beats. On top of it all, bassist Leigh Dekay keeps it poppy and menacing. Though he puts his all into screaming bloody hell, Dekay doesn’t let it phase him on bass. Towards the end of their set, they pumped out a great rendition of Minor Threat’s “Bottled Violence”. It’s really no surprise, in the end, that Krovak is getting out there and it’s certainly expected that we will only continue to hear more greatness from them down the road.

Photo by Joe Maier

Fantastically closing out the show was punk rockers Naked Aggression. Even though shit got a little crazy last time they rolled through, the turnout this time around was magnificent and frenzied. Not only did they bust out new material but they raged out classics like “Religious Lies”, “Hardcore Guy”, “Smash the State” and “Killing Floor” to a perpetual mosh pit, raised fists and screamed back lyrics. Frontwoman and mainstay over the decades Kirsten Patches seemed to orchestrate much of that energy. Even after maintaining the band for over 25 years, Patches vocals and lyrics remain marvelous. Keeping the pace excellently was Aaron Austin on drums. Not only does he speed through these songs like nobody’s business but Austin exhibits extraordinary savvy. Bassist Meghan Mattox astoundingly stays right on his heels. While she pounds out one hella great bassline, Mattox keeps it fun and menacing. Mind blowing on guitar is Craig Cano. One moment, he shreds like a goddamned champ and the next, Cano brings his A game, conveying some killer melodies and solos. All in all, Naked Aggression seems to have developed into a breathtaking niche. It goes to show that the valley can still pull off incredible punk shows.

~ Garyn Klasek

The Slackers Shake it Up on Self-Titled Album

Courtesy of The Slackers

Most lasting bands usually pick a formula and stick with it. While The Slackers are pretty well known for being synonymous with ska music, they are also known to incorporate many other genres in their music. Expect no different from the band’s latest studio endeavor, The Slackers. Some may be sticklers for strictly ska but that would be a mistake for these veterans of the style. And despite preferring to handle their own production, The Slackers have stepped outside the box on this one by seeking outside production, something they haven’t done since releasing Better Late Than Never twenty years back. It definitely shows and, along with their own creativity, easily makes for one of their best recordings in years if not ever.

The Slackers kick off their self-titled album with dub-spliced reggae track “The Boss.” This is one groovy tune led by the amazing bass playing of Marcus Geard as well as the incredible horns of saxophonist David Hillyard and trombonist Glen Pine. The band’s rock influenced ska appears by way of “By the Time I Get to Sleep.” Drummer Ara Babajian and organist/vocalist Vic Ruggiero shine through, driving the tune. “Go Go Go” moves into a more sixties soul styled ska direction. This song is lively and fun, throwing various percussion and organ tickling into the mix along with some sweet harmonies. Pine commands the mic on “Working Overtime,” a relaxed, dub-tinged reggae tune. Babajian and Geard really take the helm at this point with their drum and bass techniques, respectively. Stripped down reggae jam “Spin I’m In” may feel minimal but is quite catchy. Taking the lead masterfully on here are Babajian’s drumming and Ruggiero’s organ playing. “I Want to Be Your Girl” brings the sixties vibe back with it’s soul ska sound. Geard and Jay Nugent seep through on this track with their rockin’ bass and guitar methods.

The Slackers switch gears with soul poppin’ rhythm and blues track “Pockets of a Rich Man.” Powering through here are Geard and Ruggiero by way of bass and organ. Soul heavy reggae jam “Run Til We Can’t Outrun” follows, lead vocally by Pine. Hillyard and Pine bust out on horns along with some lovely guitar soloing by Nugent. The band slows things down, taking it nice and easy on acoustic and electric jazz and dub-grafted reggae tune “Things I Can’t Forget.” Babajian and Ruggiero beautifully carry the listener along with their drums and organ. Early rock-stained soul ska song “Truth Comes Knocking” picks it back up at this point. Ruggiero and Nugent work together on this one to drive it home between the organ and guitar with one sick organ solo. The Slackers mellows down for smooth reggae heavy jam “Chewing on a Face.” Standing out are Babajian on drums along with Hillyard and Pine on horns, as Pine blasts out one robust solo. Closing out the record is seventies rock-powered ballad “Spaceman 3104.” Nugent and Ruggiero capture the spirit of this track strikingly. This album is a marvelously grandiose venture that unfolds like a provocatively epic tale. It’s one helluva terrific way to anticipate The Slackers’ 25th Anniversary Tour.

The Slackers play Crescent Ballroom, located at 308 N. 2nd Ave. in Phoenix, on March 10th with Los Angeles ska band Viernes 13, local soul ska project Bowcat and Phoenix City DJs Beat Betty & Fullstop.

https://www.facebook.com/events/479359458917647/

~ Garyn Klasek